Italian company LockCircle has released another batch of their famous LockPort accessories, this time for Sony a7R III, Sony a9 and Nikon D850 cameras. The ridiculously fragile micro-HDMI connectors on these cameras stay alive for much longer with the LockPort.
With these handy LockPort attachments the fragile micro-HDMI ports are being transformed into 90° rear or front facing full-size HDMI ports. In the case of the Nikon D850 an additional micro-USB to (rear facing) full-size USB port is available, too.
The LockPort
LockCircle started out with a very sturdy and well-disigned full-metal lens cap. But they didn’t stop there, obviously. Over time other handy accessories came our way. camera cages, custom-built cine lenses, matteboxes, filters, rods.. it’s all there.
The LockPort was one of their earlier products and it became very popular due to its ability of protecting your precious camera from expensive service charges. Modern DSLR and mirrorless cameras tend to offer only a micro-HDMI port for video output. These connectors are anything but “professional grade”, this is my opinion at least. With a connected HDMI cable a lot of force is exerted to these tiny (and non-lockable) connectors. Bottom line: The micro-HDMI port tends to break very quickly.
Sony a7R III, Sony a9 and Nikon D850
Three new models are now available: The LockPort A7M3 for Sony a7R III cameras, a Sony a9 model and another one for Nikon D850 cameras. Both Sony variants are so-called RF (rear/front) models. Two HDMI adapters are available, one is rear facing, the other is front facing but both will fit the LockPort cage. That way you can choose the perfect way of building your rig without too much cable clutter.
The LockPort for Nikon D850 cameras has one more trick up its sleeve. In addition to the HDMI adapter, it also holds a micro-USB to USB adapter. You can choose which adapter you want (or both). The downsinde here is the fact that both adapters are rear-facing only. No RF to be found on this one.
The battery compartment can be accessed with the LockPort baseplate attached. Since the baseplate is only 1.5mm and only the original camera screws are being used all your camera support and outboard accessories will still fit nicely.
Pricing and Availability
Delivery on all the aformentioned LockPorts attachments starts from February 15th. Head over to LockCircle.com for all the available configurations. LockPorts are available for a variety of camera brands, such as Canon, Nikon, Sony, Panasonic and Fujifilm.
Prices for the Sony a7R III and a9 variants are $139 (€119) for a choice of front or rear HDMI adapter and $169 (€139) for a kit with both adapters. For the same amount of money you get a kit with both, the HDMI and the USB adapter, for your Nikon D850. For $139 (€119) you can choose between either the HDMI adapter or thr USB adapter.
Links: LockCircle.com
Has a lockport adapter ever saved your camera? Share your experience in the comments below!

Are you looking for a smart solution to sync your camera with a sound recorder? The Tentacle Sync E is the latest model from the German company of the same name, and it might be the solution to your problems.
These days the market is full of very accessible, very capable small cameras to choose from. While these cameras deliver beautiful cinematic images, many of these cameras offer very limited audio capabilities: the built-in preamps are noisy, the A/D conversion chips aren’t that good and adjusting the settings is somewhat rudimentary. Manufacturers concentrate all their efforts on delivering the best possible image quality, while audio is degraded to a necessary but annoying side note.
External Audio
The best solution to this dilemma lies in the separate recording of image and sound. This means that, in addition to the camera, a dedicated external audio recorder enters the equation. These devices offer far better audio quality, but this setup causes another problem altogether: syncronization.
For everything to match up, you have to sync your devices – whether that’s a camera with an external audio recorder, two or more cameras, or even all of it. It’s always a matter of perfect timing and frame accuracy between devices when you avoid problems in post-production. Unfortunately, only higher-end audio recorders come with a dedicated timecode generator built in. The solution? Another device to manage the syncing for us. Meet the new Tentacle Sync E, an upgraded and improved version of the original Tentacle Sync device.
Tentacle Sync E
This new version sports an updated design but is still very lightweight and tiny. It measures just 38 x 50 x 15 mm and weights only 30 g (1 oz). While the old version needed to be set up with a computer, this new Tentacle Sync E has Bluetooth built-in, meaning you now can set up, control and monitor your whole wireless timecode system via a smartphone app for iOS or Android.
The Tentacle Sync E plugs into your camera’s microphone input, thus disabling your camera’s built-in microphone. The device itself has its own on-board microphone for recording scratch audio, which will be recorded to one of the two channels of the stereo signal. For this purpose, the audio quality has improved considerably from the original Tentacle. The remaining audio channel will carry the timecode signal for syncronization. Very neat!
The built-in battery is replaceable, will power the device for up to 35 hours of continuous use and is rechargeable via USB-C. (UPDATE: The company will soon be offering a replacement battery kit for both the original and Sync E models. However, you will need to work with these Tentacles for a few years before you need to replace the battery.) The device features a locking “tentacle clamp” to firmly secure jacks in the 3.5mm output socket.
How it Works
Once you have connected all your the Tentacle units via Bluetooth, you can name each device from within the app. In addition, you can use the included rubber straps to color code all of your Tentacles on set. Each Tentacle Sync E can act as a master clock for all the other Tentacles, or you can jam-sync them to any external timecode source. Once everything is set up, you can use your phone to check battery levels, timecode accuracy and settings.
Tentacle clamps, rubber straps and velcro pads for mounting.
Once your shooting day wraps, all you need is to do is load all the recorded files to the supplied Tentacle Sync Studio software. All clips will be synced automatically and you can export a XML or AAF file for further editing in your favorite NLE. Unfortunately, the software is only available for MacOS, although Windows users can resort to an included Tentacle Sync app that reads and converts audio timecode to a file. You can then use your NLE to sync all the recorded clips.
Features
The Tentacle Sync E is pretty feature-rich for such a tiny device. It’s good to see that the guys behind it are working hard in order to push the limits and improve their already very popular original Tentacle.
Inaccuracy less than 1 frame within 24 hours
Improved high-quality built-in Microphone
Switchable Mic/Line output
Uses LTC timecode according to SMPTE-12M standard
SMPTE timecode rates: 23.98, 24, 25, 29.97, 29.97DF and 30 FPS
Integrated hook surface on back for easy mounting
Super small (38 x 50 x 15 mm) and lightweight (30 g / 1 oz)
The Tentacle Sync E can be purchased as a single unit or as a set of two. Each device comes bundled with Tentacle Sync Studio.
link: tentaclesync.com
Are you using timecode generators in your workflow? Share your thoughts in the comments below!

Vitec is one of the biggest groups in the film industry consisting of 22 top brands. They have just acquired JOBY and Lowepro. What does this mean for users?
The Vitec Group is known to be divided into two divisions: broadcast and photographic, and today the photographic division is getting a boost by bringing JOBY and Lowepro under their umbrella. By doing so, they are able to extend their photographic accessory market, aiming to go the extra mile and look into the future of mobile filming and photography.
JOBY – The GorillaPod King
JOBY introduced the GorillaPod in 2006, bringing a refreshing approach to the mini compact tripod market. This small and affordable device became a popular pocket-sized alternative for many thanks to its main strength of being able to be attached to almost anything out there. The GorillaPod family currently consists of four sizes, built to support anything from mobile phones to DSLR-sized cameras.
Lowepro – The Photography Bag
Lowepro is one of the most well-known brands for photographic bags. Its focus is professional outdoor and adventure photographers. Together with Manfrotto’s bags, Vitec’s photographic division is now promising to have a greater spread on that market.
The recent acquisition of JOBY and Lowepro will enable Vitec to become one of the biggest global providers of accessories within the new and fast growing “iPhoneography” and “vlogging” markets.
What do you think of this acquisition? Do you believe Vitec Group will be able to improve accessories by joining forces with JOBY and Lowepro? Please let us know in the comments below.

Photographers have been anticipating the Nikon D850 for a while. It’s the Japanese company’s next-generation full-frame DSLR that, according to its specs, will surely make photographers happy. Of course, nowadays no DSLR comes without a dedicated “movie mode” and Nikon promotes this quite self-confidently. But will the camera hold the promise of being a strong video shooting device? Let’s take a look.
First off, let’s not forget that Nikon’s cameras are very popular among photographers and even among video shooters. The Nikon D800/D810 (predecessor to the new D850) was once one of the best options and delivered solid HD video files. Also, just looking at the specs of the D850, it seems like Nikon will not disappoint the brand’s fans.
Nikon D850 Photo Specs
Here are just some of its photo specs:
45.7-megapixel backside-illuminated CMOS sensor (very high resolution)
No anti-aliasing filter
Shoots 7 frames per second (9 frames with optional battery grip)
Silent Shooting Mode
153-point AF system from Nikon D5
Built-in Wi-Fi and Bluetooth
Affordable, considering it’s a pro camera (A little over $3,000)
Get all the details in the full press release.
Nikon D850 Video Specs
And here’s the more interesting part for the readers of this website:
Nikon’s first camera to offer full-frame 4K video
Shoots 4K UHD at up to 30fps
Up to 120fps in Full HD
8K Timelapse function (stores 8K images in a video sequence)
For those photographers who record video during their photo shoots, full-frame 4K is certainly great news. For video shooters the specs seem up to speed with what we’ve seen delivered by other brands during the last two years, so there’s not much that is truly tempting, unless you have your mind set on the Nikon ecosystem.
There is no mention of data-rate or the existence of a flat profile, let alone a dedicated Log Gamma. From the looks of it – and just like the latest Canon DSLRs – it seems like Nikon is not interested to capture the filmmaker’s imagination with this camera. Unfortunately, the following promotional video further supports the notion that “movie mode” has been primarily added to give photographers an option to record some video too:
It would not be fair to judge any camera just by its specs and rather unconvincing promotional films. Besides, the promotional aspect has never been Nikon’s forte, but many people swear on the equipment they produce and rightfully so. Add to that that Nikon has surprised filmmakers with cameras like the D800/D810 before. So, in order to truly evaluate the video capabilities of the camera, let’s wait until we have tried and tested it ourselves.
The Nikon D850 is available for pre-order now and expected to ship in September.

Lens manufacturer Sigma followed up the launch of their cinema zooms with an impressive array of Sigma cinema primes. I took the new lens family consisting of a 20mm, 24mm, 35mm, 50mm and 85mm out for a spin in this field review.
Image Credit: Graham Sheldon
I’d been hoping to get my hands on the new Sigma cinema prime line for a field test ever since stopping by their booth at NAB 2017. Luckily I had a project recently that allowed me to take these lenses out into some rugged surroundings in Utah for a little shooting. I paired the lenses with the RED Weapon 6K, Canon 5D MK III and the Sony a7s I and II.
Sigma Cinema Primes – Build Quality
First off, not only do these lenses feel great to the touch, they also feel bulletproof. Their robust metal casing means you certainly notice their weight when lifting them out of their travel case (which comes included when you buy the set). 2.7lbs/1.2kg for the 20mm means they are certainly on the hefty side but, while I didn’t have a chance to shoot much handheld on this project, I didn’t really notice the added weight at all when I paired the Sigma cinema primes with an already heavy RED Weapon body.
This set was clearly designed with ease of use in mind. The lens control rings for focus and aperture have 0.8 modded gears that are placed consistently – perfect for quick lens swaps.
1/4″ screw. Got it.
The mounting shoe (pictured left) is a nice touch, though I would recommend using both screw holes to avoid the lens spinning on the tripod plate under stress. Of course, if you need to remove the mounting shoe for any reason, you can do so by pulling two screws that feed into the base of the lens. I like that the labelling of the shoe leaves little ambiguity about what type of screw is needed to mount to your tripod. Like all the external markings, the 1/4 label is painted using luminous paint.
The photo below shows off the luminous paint job on the 24mm T1.5 at night. You might think at first that glow-in-the-dark paint is anything but a star feature, but after having used this set you’ll consider glow labelling a standard. Whether in the chilly darkness of a studio atmosphere, or a remote location far from the lights of a city, this feature is certainly a welcome assist.
Sigma promises build quality that resists dust and moisture, and after subjecting the lenses to all manner of environments in the mountains of Utah I found each of the control rings to be as smooth as the day I received the set. In my opinion, this set would hold up very well in a rental house with a fast turnover of different users.
Sigma 24mm T1.5 at night. Photo taken on Sigma 35mm T1.5 with Sony a7S I. Credit: Graham Sheldon
Lens Flares
Just like with the Sigma cinema zooms, I personally really like the flare out of these lenses. While every sensor is a bit different, I like how the Sony a7s I and the Sigma 20mm handle the flare from the lantern in the bottom left of the night-time image below.
Sony a7s MK I with Sigma 20mm T1.5 Image Credit: Graham Sheldon. Higher resolution version HERE.
Image Quality
I noticed very minimal aberration when working with the Sigma cinema primes in the field and I loved the sharpness of the image straight out of these lenses. When compared with Nikon and Canon I found the Sigma to be on the sharper side, but not negatively so. The T1.5 allowed me to get as much light into the camera as possible for long exposure photos such as the one below (there is some softness in tree below given the exposure time), though I still had my ISO cranked up to 8000 for this shot of the Milky Way. I did apply some noise reduction using Lightroom, but otherwise this is straight out of the Sony a7s I with the Sigma 20mm T1.5.
The image itself didn’t feel particularly cool or warm to my eye and I didn’t see any added color cast. In short, if you’ve used the similarly well-built Sigma ART series of lenses, you’ll feel good about the image out of these Sigma cinema primes.
Note: While I was only able to test up to 6K resolution for this shoot, the primes do cover up to 8K.
Sony a7S I with Sigma 20mm T1.5. Image Credit: Graham Sheldon. Higher resolution version HERE.
Filter Diameter
A standout design feature is the ability to screw 82mm filters or a screw-on matte box directly onto the 24mm, 35mm or 50mm. I had a Chrosziel Matte Box (82mm step ring) with me, and was able to mount the matte box directly onto the Sigma 35mm T1.5 and 5D MK III (pictured). I’ve found most screw-on Matte Boxes to be too heavy for Canon L lenses, but these metal Sigma primes handled the weight just fine with no wiggle.
Pictured: Sigma 35mm T1.5 with Chrosziel MB 450 R2 Matte Box. Image Credit: Graham Sheldon
The 85mm lens has a filter diameter of 86mm and the 20mm unfortunately doesn’t have filter threads, but the entire set has a common front diameter of 95mm allowing for one matte box donut to cover the entire set provided you are mounting the matte box on a 15 or 19mm rail system. I use rail mounted matte boxes for most of the projects I shoot, so I don’t find the lack of a common filter diameter to be an issue.
Price
You can purchase each prime for $3,499 or you can buy a 5-lens set for $16,270. Buying the full kit saves you a little over a grand versus purchasing each lens individually and comes with a sturdy hard case. Unfortunately, the 5-lens set doesn’t include the newly-announced 14mm T2.0 cinema prime or the Sigma 135mm T2.0, both of which would be welcome additions to a kit given their respective focal ranges.
Update: Sigma just announced they are releasing a new 7-lens kit of their Sigma cinema primes for $24,799 that will include the 14mm T2.0 and the 135mm T2.0, which are priced individually at $4,999. The lenses will begin shipping in July.
Image Credit: Graham Sheldon
If you’re a cinema youngster whose kit is rather sparse, the price may feel a bit steep to you. In that case, you can spend $500 more and pick up one or both of the Sigma Cinema Zooms, and you’ll be off to the races. If you’re looking to get more serious, you’ll be hard-pressed to find a better-priced prime with even a comparable build and aesthetic. By far these are the highest-quality make of a cinema prime that I’ve seen in this class.
Conclusion
I can see this set serving DPs in both budget indie narrative and commercial applications alike. Even on a budget production, using these primes wouldn’t feel or look like much of a compromise to a client/director, versus higher price-point cinema glass. The optics truly are much richer than what you are paying for.
If you are looking to make the jump from stills optics into cinema glass, then you won’t be able to find a much better springboard than with the Sigma cinema prime set. These lenses are full-frame future proofed, built to last, gorgeous-looking and promise to have a home in your kit for years to come.
Available Mounts: All of the primes are available in Sony E, EF or PL mount. Both the Sony E and Canon EF mounts may be swapped at Sigma service centers.
You can find our previous review of the 50-100 T2.0 and the 18-35 T2.0 Sigma Cinema Zooms HERE.
Does this new set of cinema primes have a place in your kit? Let us know in the comments below!

The campaingn’s founder, Ryan Stout, claims that Arsenal is an intelligent camera assistant. The DSLR add-on helps you capture the perfect shot every time with the help of image analysis and machine learning. With the accompanying app for your smartphone you end up with an actual smart DSLR. Let’s have a look!
Meet Arsenal
There is a new gadget in town. Well, almost – but if you happen to be brave enough for another Kickstarter campaign, the Arsenal might be worth a closer look. The so-far very successful campaign is about to hit the home stretch and the product itself looks very promising: a tiny device which is connected 1) to your DSLR via USB and 2) to your smartphone wirelessly.
The unit is programmed with thousands of images which are then compared to the current framing of your DSLR. It adjusts several settings accordingly in order to get the perfect shot, so all you have to do is frame your picture and the Arsenal will take care of the (technical) rest – just like an actual camera assistant. Too good to be true, right?
Different Modes
The Arsenal is capable of several shooting modes: HDR stacking, long exposures, focus stacking, you name it. The good thing is, you don’t have to think about it. All you have to do is let your creativity flow while Arsenal takes care of the technical execution. Here is a list of things the Arsenal algorithms process while striving for that perfect shot:
Compares current scene with thousands of past images using a convolutional deep neural network (the same algorithm used in self driving cars)
Optimizes settings based on 18 different factors
Avoids settings that produce weak images on your specific camera and lens
Uses image recognition to identify subject-specific needs (e.g. fast shutter for birds)
Shows safe ranges for each setting based on situational constraints (e.g. vibration)
Gives you the ability to change the settings you care about most
Controlling the Arsenal is easy: just download the android or iOS app and you’re good to go. All the settings can be accessed and changed via the app, and you’ll get a live preview from your DSLR and a convenient viewer for the pictures you’ve already taken. And since we’re living in a social-media world, you can upload your hero shots straight from the app, of course.
The most interesting feature for me personally is the ability to create fully-automated timelapses. Even the so-called holy grail (transition from day to night or vice versa) is supported. I’m very curious how well the Arsenal handles that tricky type of timelapse!
Specifications, Pricing and Availability
The Arsenal supports a whole range of DSLRs. Canon, Nikon, Sony, Fujifilm, they are all aboard. Check out this webpage and search for your DSLR make and model.
The campaign is live until Thursday, June 22th 2017 4PM CEST. While writing this, the “Get Arsenal – Kickstarter Exclusive” tier is still available. That one will set you back $150. The estimated delivery date is January 2018.
Just a word of warning: This is still a Kickstarter campaign, not a retail offer, so naturally there are risks. I had a few disappointing Kickstarter experiences myself, so be advised! If you love the thrill, go get one. If you want to play it safe, wait until the actual product is ready and check if it still pleases your needs. If so, go and get one for a slightly higher price.
links: Kickstarter campaign | Website
What do you think? Does this look like the gadget you were waiting for? Share your thoughts in the comments below!

Canon has just announced the first major upgrade to their Canon 5D Mark IV. This paid upgrade will set you back about $99 (€99), but promises to give the camera a new life when it comes to video production.
The paid upgrade unlocks Canon Canon Log for the 5D Mark IV
Back when I tested the camera in August 2016 (see my original review and article here), I came up with a list of Pros and Cons related to the camera. My list proved to be identical to what others in our global filming community were thinking and, based on this global feedback, I’m happy to report that Canon has listened and decided to implement a C-LOG picture profile. While this upgrade might not fulfil everybody’s wish list, it is certainly a good move in the right direction, one that raises hopes that Canon may have decided to re-join the healthy DSLR/Mirrorless competition and support independent filmmakers with flexible creative tools. Although, while on this subject: Canon, please give us the ability to record 4K in full-frame mode and also send a 4K signal via HDMI to an external recorder.
As a side note, one immediate question remains: What about the Canon 1D X Mark II? Will this fine camera also be treated soon? Unfortunately, we have no news regarding this matter for now.
Why Shoot in a Log Picture Profile?
Shooting with a Log picture profile brings some benefits to filmmakers who want the most amount of information to work with. This specific Canon Log picture profile is identical to the one found on the Canon 1D C, and was specifically designed to work best with 8-bit colour sampling information. Needless to say, for filmmakers who use other Canon cameras on set, the main benefit will be the ease of camera matching while filming and colour grading during post production.
About the Canon 5D Mark IV Upgrade
Mind you, in order to take advantage of this new upgrade, you will have to send your beloved camera in to a Canon service center, so don’t look for a firmware download link. Once you get your Canon 5D Mark IV back, you will find in you can now navigate and activate Canon Log in the menu. According to Canon, for best results use ISO 400 in order to achieve the claimed 12 stops of dynamic range. In addition – and for those who feel uncomfortable working with a flat, low contrast image with subdued sharpness – Canon is now offering the possibility to use a “view assist” to look at the full range of the image.
Availability
The paid upgrade will be available as of June. It is yet to be seen if the new Canon 5D Mark IV cameras with the upgrade already installed, and if so, if those cameras will be 99 Euro more expensive.
Do you work with the Canon 5D Mark IV? If so, will you be sending your camera in for an upgrade? If you don’t have the camera, will you be considering buying it now that Canon Log has been implemented?

Head over to Skypan International‘s website and you will be greeted with gorgeous shots of the Chicago and New York skyline. Unfortunately, it seems that some of these images were taken in restricted airspace and the FAA has hit the company with a $200,000 fine as a result. All the details below:
Back in October of 2015, drone (UAS) operator Skypan International was slapped with a proposed $1.9 million civil penalty from the FAA for flying 65 illegal flights over New York and Chicago airspace between 2012 and 2014. The parties settled this week for $200,000, with additional monetary penalties possible if the company violates restricted airspace in the future, or fails to pay the fine in full. This marks the largest drone related settlement ever according to the FAA.
Skypan International has released a statement:
“While neither admitting nor contesting the allegations that these commercial operations were contrary to FAA regulations, SkyPan wishes to resolve this matter without any further expense or delay of business. Accordingly, it has entered into three-year agreement with the FAA in which SkyPan will pay a civil fine over a period of three years and pay an additional civil fine in the event Skypan violates any aviation regulation during the next year and pay a civil fine in the event it violates the terms of the agreement. In exchange, the FAA makes no finding of violation.”
Image Credit: Graham Sheldon
For more information, including maps, on restricted airspace and how it might pertain to your next drone flight you can visit the FAA page: HERE.
With so many registered drone flyers now operating in the United States, this fine is clearly intended as a warning from the FAA that unmanned aerial vehicles are not toys and they can pose a threat to aircraft. Companies like DJI have made airspace restrictions easier then ever to recognize — in some cases even prohibiting the drone from taking off. Safe flying out there, folks.
Source: FAA/Skypan International